Various Artists Electric Gypsyland Vol. 2

After a wildly successful first edition, this electronic survey of the Balkans is expanded past the realm of Taraf de Haïdouks and Kocani Orkestar. The brass-heavy beats of Eastern Europe are interpreted with great enthusiasm by Balkan Beat Box, Oi Va Voi, Smadj, and, of course, Shantel, the leading producer on the electro-Balkan scene; the hi-hat and kick drum he works into a Taraf dance number adds a tasteful touch. Others are more adventurous, moving into avant-garde territory in their interpretations. A companion CD of originals shows the evolution of the tracks, though both discs are equally fearless.

Paul St. Hilaire ADSOM-A Divine State of Mind

Paul St. Hilaire has always tried to expand the possibilities of reggae. Since moving from Dominica to Berlin he’s tapped into numerous scenes, most notably experimental dub. The fruits of these collaborations are apparent on ADSOM, where large bass undertones are tempered by beats ranging from downtempo to midtempo. St. Hilaire draws a fine line between digital textures and raw, analog sounds here, unlike the cleaner, smoother collaborations with François K. that helped him break into the American circuit. Guitars creep over the reverberant rhythm on “Little Song” while St. Hilaire’s unique, high-toned vocals rise above the heaviness. The entire record continues in this fashion; even on the more uplifting “Jah Won’t Let Us Down,” Hilaire hangs back on the vintage sound. While muddy, and sometimes choppy, he finds a way to bring light to the shadows.

k-os Atlantis-Hymns For Disc

Trying to pin down Toronto-based vocalist k-os’ influences proves impossible. The title of his third effort invokes a similar head-scratching inquisition. Fortunately the disco mention is tongue-in-cheek, for this is an album of extreme versatility (in the greatest definition of that word). He jumps off with his familiar hip-hop patois over the huge beats of “Electrik Heat,” then offers a panoramic view of bluesy chords, rock guitars, and ragtime poetics. Like the flexible acrobatics of Mos Def and fellow Canadian K’naan, k-os brings lyrical depth through a variety of platforms-and on each, he stands supreme.

Fat Freddy’s Drop Based on A True Story

Having broken New Zealand’s record for most weeks atop the sales chart, Based on a True Story finally reaches US shores. FFD, led by the soulful Joe Dukie, taps into an appealing form of bluesy, reggae-inspired, lengthy songwriting: rare considering what constitutes popular music. The hypnotic swing of basslines and keyboard stabs immediately draws the ear in. The further combination of live horns, a remarkable drummer, and a DJ round out a sound somewhere between Motown-era funk and modern soul. When Dukie poetically declares “We do it for the love of music,” there’s no fiction in sight.

Yabby Y Deliver Me From My Enemies

The man born Vivian Jackson completed a three-year trilogy of albums in 1977 with this lush, spacious, devotional dub record. While lovers’ rock and big pimpin’ were pumping in bass-heavy speakers, You focused his efforts on the Most High, apparent on the rhythmic brilliance of “Judgment Time” and “Zion Gate.” Considering a simple re-release would not suffice, the label doubled the length with 12-inch mixes, including a killing toaster tribute over percussive beats on “Jah Vengeance.” You’s pulpit was certainly demanding, but his fire was enough to make the pews rise with fists raised.

Les Georges Leningrad Sangue Puro

Montreal’s art-rock freaks are back with another installment of weirdness, this time sounding surprisingly normal. Though still infatuated with antics (check “Lonely Lonely” for true absurdity), overall this LP feels less like an art piece and more like “regular” post-punk. Perhaps this reflects a move away from the production-oriented aesthetic of their earlier Black Eskimo towards a more live sound; too bad it didn’t go the other way around. Though salvaged by interesting moments such as “The Future for Less” and “Eli Eli,” by and large Sangue Puro seems like a step backwards.

Various Artists Anja Schneider: Back To Back

Surfacing just two years ago, Anja Schneider’s Mobilee label has proved a major player on the world’s techno stage with an unfailing style of rave-proven minimalism. Found on compilations from the planet’s top jocks (Richie Hawtin, Kiki, etc.), Mobilee’s unique approach to techno’s most popular sub-genre ignites dancefloors with intricate synth work, chaos-fused grooves, and mind-melting breaks, all with a head-throbbing vibe. Disc One compiles nine carefully selected cuts from the back catalog, while Disc Two finds Schneider blending eight previously unreleased remixes into a timeless trip through Mobilee madness.

Anders Ilar Nightwidth

Fascinated by music and technology from an early age, this affiliate of the ambient techno movement releases his first full-length, featuring his previous EPs on Narita as well as a few exclusive tracks. The overall mood here is that of hypnotic relaxation, a movement towards cool synth breezes, delicate percussive workouts, and serene melodies. Using an arsenal of modulated effects, there is a sense of motion throughout each piece. This album offers the perfect sound for a Monday drive home after a three-night renegade campout in the woods, creating an excellent come-down back to reality.

Subtitle Terrain to Roam

On Terrain to Roam, hyperactive emcee Subtitle (a.k.a. Giovanni Marks) drops deadpan wit over hot beats, spanning from Madlib’s rich tones to Dntel’s videogame melancholy. In between, Marks teams up with labelmate Thavius Beck on the standout banger “Wait for It” and fellow L.A. scenester Nobody for “Write is Wrong,” a clever number on which Marks claims, “Before I go to the DMV/I’m gonna party like I’m crazy.” Then, on the telling and not-so-glorifying “About the Author,” Marks proves he has no need to posture to pen verses that sting.

Exploding Star Orchestra We Are All From Somewhere Else

We Are All From Somewhere Else, by Chicago cornetist/composer Rob Mazurek and avant-garde friends, is out-there-a suite of sonic poetry that Mazurek calls an “animated adult/children’s story.” Concepts include an exploding star, a stingray’s journeys, electric eels chatting, destructive humans, and the sound of a star being born, literally. Instruments are juxtaposed throughout: cornets, drums, bass, flutes, synth, guitar, more brass, spoken word, and, yes, eels all factor in. The potential audio gridlock moves fluidly-even if experimental jazz isn’t your thing, you can’t help being pulled in by what Mazurek pulls off.”

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